Superman on the Couch: What Superheroes Really Tell Us about Ourselves and Our Society

by Danny Fingeroth

Why are so many of the superhero myths tied up with loss, often violent, of parents or parental figures? What is the significance of the dual identity? What makes some superhuman figures "good" and others "evil"? Why are so many of the prime superheroes white and male? How has the superhero evolved over the course of the 20th and early 21st centuries? And how might the myths be changing? Why is it that the key superhero archetypes - Superman, Batman, Wonder Woman, Spider-Man, the X-Men - touch primal needs and experiences in everyone? Why has the superhero moved beyond the pages of comics into other media? All these topics, and more, are covered in this lively and original exploration of the reasons why the superhero - in comic books, films, and TV - is such a potent myth for our times and culture.

Genres: Nonfiction, Comics, Superheroes, Psychology, History, Pop Culture, Essays

192 pages, Paperback

First published February 6, 2004

About the author

Daniel Fingeroth (/ˈfɪŋɡərɔːθ/) is an American comic book writer and editor, best known for a long stint as group editor of the Spider-Man books at Marvel Comics.

Reviews

[Ana · Rating 3 out of 5]

Light reading with an interesting historical aspect.

[Andy · Rating 2 out of 5]

It's entertaining light reading for a book that tries to wax philosophical on comics.

I picked up the book at my school library in order to get some backstory on a paper I was going to write and while there were a handful of decent points (and really none of his points are BAD-just his writing) I don't think I'm going to be writing my essay about the same topic I planned.

I didn't know what to expect, it's just sort simple. Reads like a fringe comic nerd talking for a few hours.

[Scott · Rating 3 out of 5]

Lightweight but entertaining, it is unfortunately also somewhat dated as
1.) there have been a boatload of superhero-related films and TV shows released since the book's publication (2004)
2.) the resurgence of interest in superheroes - spawned by the Batman, Spider-Man and X-Men movies and/or cartoons of the 90's and very early 21st century - was not a passing fad but is now more powerful than a locomotive. (Sorry, couldn't resist.)
That said, the history portion is well presented though the observations occasionally tend towards the obvious.

[Brent · Rating 4 out of 5]

I don't necessarily agree with all of Mr. Fingeroth's social analysis, but I enjoyed hearing his opinions. His lively writing style makes for a fun read, and there is some good comic book history in here.

[Meghan · Rating 2 out of 5]

I really wanted to like this book, and to be fair it did raise some interesting questions and brought up some thoughtful points about superheroes, comics and our society at large, buuuuutttt...thats about all it does. I think one reviewer mentioned that at one point Fingeroth goes on for two pages simply posing question after question in a sort of stream-of-consciousness manner. Upon finishing the book, I still dont think those questions were answered. I feel like every chapter, even though it started with the intentions of having a specific theme and purpose, ended up sounding a bit the same. Fingeroth writes in a very conversational style, to a fault, where organization, purpose and followthrough are lacking. So...all in all, NOT for the serious comic book lover or the philosopher or the psychology major, but a bit of light reading to begin to scratch the surface of a truly fascinating subject.

[Melanie · Rating 1 out of 5]

I really wanted to like this book but honestly I just didn't. please dont get me wrong the author Fingeroth does make some valid points but it's just his writing and how he goes about saying it just turned me off.

He brings up the point of views and comicbook readers identifying with the superhero's nemesis (aka the Villain). "you know--much the way we feel about, say, Superman's arch-nemesis, Lex Luthor. You just know that Luthor enjoys his life. He spends his time doing what we sometimes, in our darkest, secret moments, would like to be doing: plotting--and executing--revenge against his enemies. Wait! We're not supposed to like him. He's the 'bad guy.' But as a fictional Villain, he's safe to fantasize being" (Fingeroth, 2004, 15) he brings pup a really good point. But the way he wrote it could have cleaned up his writing and been more concise.

Another thing I had a problem with was how toxic his masculinity was. "for most of us, if we were ever in a fistfight, if we ever were socked pin, or socked anybody else in the jaw, it would be a remarkable event" (33) woah way to be hyper violent. Contrary to what the author believes I would not pass this story to my kids. One, super violent and two the reality is we don't actually live in a society where you can put hands on another person with with the intent to cause harm (without there being serious consequences). Devil's advocate would preach 'maybe it's because you're a woman-" I'd tell you stfu it's not because of that. Unless you're fighting in a ring heavily padded and your opponent has free rein to hit you just as hard have at it. 'socking' another person just seems like a thing a guy would says and that kind of thing is just so toxic. No thank you.

I am still interested in the subject matter so I'll probably find another book that's more of my cuppa tea.

[Marília Falsetti · Rating 3 out of 5]

The author described really well how (male) superheroes are easy characters to relate to, even though they usually are orphans, ETs or have superpowers. That happens because, in our complex psychological system, we all have the need to be accepted as who we really are inside, and be loved despite our flaws and mistakes from the past. The tragedies that fall upon our heroes remind us of our worst fears and secret nightmares, and seeing them overcoming such terrible events gives us motivation to deal with our own everyday problems. When a hero beats the villain, our own emotions of anger and frustration find a healthy expression in the fantasy world. But when it came to the chapter about female superheroes, Danny Fingeroth disappointed the women reading the book, in my opinion. He claimed that “society wasn’t ready for a superhuman woman who could be good and powerful at the same time”, despite earlier giving lots of examples of real women who did good to society and also achieved success in their professional fields. He later recognises that younger generations and the feminist movement contributed to the existence of today’s female superheroes, but fails to admit that patriarchy was the reason why we didn’t have them sooner. He also has quoted some opinions that sustain gender stereotypes, such as “women’s strong qualities have become despised because of their weak ones” (by the creator of Wonder Women). It’s a good book to read if you are a geek or just love superheroes stories, but watch out for these problems. A new edition should solve this questions.

[Erinc · Rating 4 out of 5]

From my blog: Reviewing Comics

n his 2004 volume Superman on the Couch comics industry veteran Danny Fingeroth aims to go beyond the history of superhero comics and analyze the reasons for our persistent fascination with them and what this can tell about our societies.
For his analysis, Fingeroth identifies certain key elements that are common amongst superhero comics starting with their dual identity and their orphanage, moves on to their built-up anger and the values they represent. But before tackling with these individual aspects, Fingeroth addresses the question, where do superheroes come from and what they represent.

According to Fingeroth, a superhero represents what we believe is best in ourselves, he/she is a standard to aspire to as well as an individual to be admired.
In general, then, a superhero is an individual who possess extraordinary skills and abilities, with a strength of character and a set of values. The superhero is determined to protect these values with his/her abilities, regardless of the circumstances. Fingeroth points out that these exact identifiers can also be applied to a supervillain. An interesting observation that he later picks up in his chapter on values.

Defining superheroes as such, Fingeroth also states that they relate to many important social an psychological issues on many levels and that they have a timeless quality that can be adapted by an endless variety of media and audiences.

After providing a brief history of superhero comics, Fingeroth moves on to the key issues he identifies within them, starting with the dual identity. Arguing that dual identity is appealing to the readers because it lets them imagine themselves as superheroes deep down, Fingeroth also mentions the particular attractiveness of such a setup to a young immigrant generation, which was a principal audience of the comics in 30's and 40's. Fingeroth argues that the immigrant experience of a divided identity between an everyday American on the street and an ethnic minority at home amongst family is well-represented by, especially, Superman.

Speaking of the family ties of the superhero, the next issue Fingeroth takes up is the orphanage of the superhero character. He argues that being an orphan leaves the young hero free of parental guidance and lets himself invest into his pursuit, while all his achievements will be even more impressive for they are accomplished without any external support.

Following these issues that concern the individuality of superheroes, Fingeroth turns his attention to women in superhero narratives and observes that traditionally, women who acquire great power would eventually become evil characters, but recently this trend is being abandoned and powerful female superhero characters like Buffy are becoming very popular.

Next topic addressed in the book is the family relations as they are represented by the superhero comics. Fingeroth argues that throughout their history, superhero comics have presented many opportunities to analyze and fantasize about family from the 'real' family issues of the Fantastic Four to the chosen, surrogate, family of the X-Men.

Fingeroth then return to issues surrounding individual superheroes and takes up the issue of anger, which play a very central role in the characterization of some of the most important figures of the genre, most prominent of which is the Batman. Fingeroth compares Batman's determined and rationally channeled anger with the uncontrollable rage of the Hulk, which he likens to the primal scream resulting from our daily existence. In contrast, Batman takes this existential anger, combines it with the anger towards a system corrupt to the core, and puts it to a constructive use.

Another important aspect of the superhero character, and hence the subject of the next chapter, is the teenage sidekick. When the likes of Robin the boy wonder, were first introduced,they primarily served the purpose of keeping the hero company and giving him someone to talk to. Also, they were aimed to provide a character to be identified with for the teenage audiences. But with the changing times the role of the teenage sidekick has changed as well and finally with Spider-man, a teenage character has become the superhero, and not just any other one but the one of the most interesting and popular characters ever created.
After his analysis of Spider-man's unique characteristics, Fingeroth argues that Spidey is the apex of the superhero genre.

Finally, Fingeroth considers the values superheroes represent and the villains that they fight against. Although his analysis of this issue is not as deep as some other works like the American Monomyth, he asks some relevant and important questions and, like others, mentions the self-reflective character of the latest movement in the comics. An interesting observation that Fingeroth makes is that the movie adaptations of superhero stories are aimed at non-jaded newcomers that are not bothered by the simplistic morals of the the stories, therefore the movies generally can afford presenting them while the comic books themselves are bought and read by an audience that is learned in these simplistic ways and are ready to question them.

Overall, Superman on the Couch points to a very useful set of issues concerned with superhero comics, some of which are dealt in a more detailed way elsewhere but some unique to Fingeroth's study. Although the analysis accompanying the identified issues are not always dealt with great depth, the inquisitive approach of the author is exemplary and his work can be considered as an excellent entry volume into a better understanding superhero comics and hopefully inspire its readers to further the very interesting research agenda attempted by Fingeroth.

[Valerie · Rating 4 out of 5]

A somewhat interesting book exploring the superhero genre and society's reactions to it. Although the ideas are somewhat scattered and haphazard, the book itself offers a few interesting ideas and things to think about. It should be noted that it's a bit outdated by this point, however, considering the way it talks about the "current" superhero movies and even its mention of Harry Potter (being that it described the wizard's story in a way that no one today--post the success of the book series, the movies, the Universal theme park, the new Fantastic Beasts movies, the Cursed Child plays, etc.--would due to the franchise's overwhelming success and popularity).

[Roy Schwartz · Rating 5 out of 5]

Possibly the most intelligent exploration of the superhero concept and its psychosocial, sociopolitical, and historical underpinnings, by the leading scholar of American comics. Essential reading for any fan of the medium, the genre, or popular culture.

[Echoes · Rating 3 out of 5]

This was pretty interesting but very dated. I’d love to read an updated version of the book that addresses the advent of the Marvel Cinematic Universe and the recent critical praise of the DC movies after the rough start with the Snyder stuff. There’s also the myriad of superhero shows on various streaming platforms and network television to address. There’s so much to expand on this topic since 2004.

[Juan Bacigalupi · Rating 3 out of 5]

Interesting read, but not as in depth as I would have liked. A decent chuck might seem rudimentary to those with previous studies of psychology. Nevertheless as a superhero fan there were plenty of bits that made up for those flaws.

[Timothy Swartout · Rating 3 out of 5]

This is a broad and generalized look at why superheroes are so popular in the American culture. It’s enjoyable enough but not earth-shaking or profound. It’s kind of like taking a mini-class at college. No big revelations here but an enjoyable nonetheless.

[Steven Fuller · Rating 5 out of 5]

Can't say much about it, except that it it gave me fantastic insights.
So, "a must read!"

[Daniel · Rating 5 out of 5]

It's simple. If you love comic books, you'll love this book. If you've ever had the argument "Who would you rather be, Superman or Batman?", you'll want to read this book.

Enough said.

[Mike Gibas · Rating 3 out of 5]

Some interesting insights from someone close to the industry, but a lot of opinion and little scholarly insight. It really feels underwhelming, which is a shame.

[Sarada · Rating 3 out of 5]

Maybe because of the barrage of Superhero content that's been flowing these days, the book doesn't really offer something new. It's a short read and the beginning is pretty interesting.

[Anastasia · Rating 2 out of 5]

This book did a very good job of arising some serious questions regarding the morality, psychology, and self-reflection of superheroes but seemed lacking in truly explaining the ANSWERS to these questions. Danny Fingeroth writes in a connected manner that allows for some voice to permeate the pages but at times seemed to ramble on and on without actually giving concrete details. There were plenty of analogies that weren't helpful and most of the insightful comments were superficial.

This book DID give me a list of OTHER books to read on these topics. The most quotable lines in this book came from quotes from other books. Now I have a list of superhero analysis books that might quench my thirst for answers. '

Somewhat insightful excerpt:

"Paradoxically, the introduction of teen heroes was part of the maturation of superhero stories and superhero culture. Maybe the fact was, certainly then, whereas children were supposed to be seen and not heard, and when adults were coming out of the 1950s, where the mark of maturity was repressing one's feelings, the only age group in society allowed -- indeed, expected -- to show grand emotions was the teenager." [Page 141, Changing Voices:]

[Sarah · Rating 3 out of 5]

An enjoyable read. You need at least a passing familiarity with superhero comics to enjoy this book, but I liked the addition of Buffy and Harry Potter to the concept of what a superhero is (or maybe what they can be). While there is not a ton of new ground broken here, I still found it insightful and well written enough to enjoy reading it. Good for fans of comics that like a bit of academic discussion but nothing too heavy. Or fans of academic discussion who like a bit of comics but nothing too drenched in canon.

[Matthew · Rating 4 out of 5]

This is a nice little book on out new mythical figures, written by someone who is an insider of the Comics industry. It provides good insights in the how superheroes fit within the times they were written and shift with the times. It also discuses idea of how the superheroes and supervillians represent the hopes and fears of the times in which they are constructed and that the recent trend of realism within the Comics industry might actually be defeating the purpose to which society wants and needs them to fill of escapist low-brow archetypes.

[Brent · Rating 2 out of 5]

This is secular version of Who needs a superhero? and about as good, again I only got through a few chapters, mostly on momentum. Danny Fingeroth's approach definitely isn't Socratic, but he asks a lot of questions anyway. In one stretch he goes a page and a half just asking questions -- literally (and not literarly.) Alternate recommendation: Superheroes and Philosophy: Truth, Justice, and the Socratic Way.

[Plagueoftruth · Rating 3 out of 5]

Although not stellar, this is a very good introductory book for understanding the psychology and social importance of superheroes. This book covers the well-tread idea that superheroes' popularity is due to the fact that they are the new mythology. But there are other interesting insights such as the Punisher being a reaction to the violence of the eighties and the addictive nature of Batman's war on crime.
Not as long or in-depth as I would have preferred but certainly a fun read.

[Mike · Rating 3 out of 5]

As mythical as the process of making comics can be, it can be just as elusive for those in the field. Why do some characters continually resonate with the public, where others don't? It's a good question to ask and Fingeroth does a good job getting to it. If the book lacks any "behind the scenes" sort of drama, it brings a keen understanding of the source material to bear.

[Tanya Train · Rating 5 out of 5]

Superheroes aren't just a reflection of some childlike need to have a savior, but more so a reflection of what we want to and wish to be. That society, as fucked up as it is, can be 'saved' by some fool prancing around in tights.

[Jeffery Moulton · Rating 5 out of 5]

Superman on the Couch is a fascinating look at superheroes and how they reflect culture and society. It demonstrates their importance in a fun, easy-to-read way that will interest superhero fans and neophytes alike. All in all, a great book.

[Jenn Swanson · Rating 3 out of 5]

This book could have been truly amazing but I felt that it fell short. The author goes into excessive detail on some things and leaves very little on others. Was a great idea, just wasn't consistent.

[H. Givens · Rating 4 out of 5]

Accessible and informative without ruining the comic-reading experience, although the analysis is surface-level sometimes. I especially appreciated that Fingeroth had written and edited comics, so he's not some snooty guy studying a subculture from "above."

[Flossie · Rating 3 out of 5]

I picked this up for the chapter on Buffy, but ended up reading the whole thing. Interesting stuff- if you like comics. Duh.

[Matthew Jackson · Rating 2 out of 5]

Nothing I didn't already know, and not very well executed.

[Erin Tuzuner · Rating 2 out of 5]

Surface questions that don't illuminate the reader.